A few additional rules are required to explain the chief features of the music of tshilalelo and other songs used in domba, and here I will refer only to rhythmic features. It is in tempo, length of period and patterns of metre, that all the songs except tshilalelo differ most from the domba song. Besides, it may be said that the composition of Venda melody is achieved by building up rhythmic structures within a larger tonal and harmonic framework. Thus, variety is to be found more in rhythm than in tonality and harmony. This does not mean that harmony and tonality are less important: on the contrary, they are the basic materials with which Venda melody is fashioned through the application of words and metrical patterns.

The words of tshilalelo mean, "We ask for our supper, we are going to sleep" (Ri humbela tshilalelo, ri yo lala). It is sung only during evening sessions of domba, and is often described as 'a song of dismissal'.

The drum pattern is the same as that of domba, and the variations given in the transcription can be used for domba, and vice-versa. Its basic period of two repetitions of the drum pattern is half as long as domba.

The transcription gives only some of the variations that may be sung by the chorus. The u bvumela combination of b' - a' - g' - f# and b' - d" - g' - b' in the latter part of bars 6 and 6a of tshilalelo, is very common in Venda music.

In the domba songs, the length of word-phrases is not a relevant factor in the choice of metre. Moreover, even if the phrases of call and response differ in length, they are often equalised musically, especially by the addition of vocables such as ahee.

The basic rhythmic pattern of the songs is one of 12 quavers, or 4 dotted crotchets, as in tshikona and domba (see Songs Nos. 1, 18 and 11). This may be repeated twice (as in Songs Nos. 17, 17a, 5, 7, 26, 12, 25, 23, 8, 29, and 3), or four times (Songs Nos. 6, 15 and 20), before the basic melody has been completed. Within most of these musical periods, call and response are of equal length. There are three songs (Songs Nos. 4, 16 and 22), in which a phrase of 24 quavers is repeated twice, and then a slight modification of it is repeated twice again: they are said to be of Shangana-Tsonga origin.

Of the other songs with basic dotted crotchet beat, two (Songs Nos. 13 and 24) have repeated patterns of (6 x 3) quavers; one (Song No. 2) has an irregular pattern of 21 quavers; two (Songs Nos. 9 and 21), a pattern of (4x9) quavers; and one (Song No. 14), a pattern of (14 x 3) quavers. In this last song the structure of call and response is interestingly symmetrical: (4C + 2R + 2CR + 2C + 4R).

Finally, Songs Nos. 19 and 10 are based on patterns of 10 and (8 + 8) crotchet beats. The interrelationship between the different metrical patterns is shown in Figure 4: it illustrates the general application of rules 2.2.0., and 2.4.0. Songs Nos. 12 and 25 are not included: they follow the principle of 2 against 3, but at the slower dotted crotchet speed of 69 MM.

There is no significant difference between the rhythm of the songs and recreational songs, except that those with irregular or less common patterns happen to be ritual songs, in which words are important.

A few additional rules incorporate all rhythmic features of the songs.

2.0.3. In many songs, a basic tempo between 276 and 336 quavers per minute is crystallised into groups of dotted crotchets, crotchets, or combinations of all three time values.

2.0.4. A 'pulse' group equivalent to 12 quavers is a fundamental unit in many songs.

2.0.5. The minimum repeated patterns of many songs are metrically based on multiples of the 'pulse' group of 12 quavers.

2.0.6. In the songs of domba, preferred multiples of the group of 12 quavers are 1, 2, 3, 4, 8. Also found are 7, 3/2. 7/2, 3+2/3 and 6+2/3.

2.1.4. When vocal parts are added, the entry of both call and response may coincide with the basic metre (Songs. Nos. 19, 11, 14, 15, 9, 22, 4, 16, 26).

2.1.5. The entry of both call and response may coincide with a counter-rhythm of the basic metre played on the bass drum (Songs Nos. 6, 21, 29, 3, 8, 7).

2.1.6. The entry of the response may coincide with the main beat, whilst that of the call coincides with a counter-rhythm.

2.6.0. The entry of voices may create further rhythmic counterpoint.

2.6.1. The entry of both call and response may be in strict canon with the main beat (Songs Nos. 18, 13, 10, 12, 25, 2).

2.6.2. The entry of the call may be in canon with the main beat, but the response coincides with it (Songs Nos. 1, 17, 17a, 5, 23, 24. This applies also to the entry of call and response in domba).

Note that many variations in the rhythm of melodies, which are created or reinforced by agogic accents, come under rule 2.3.0. (for example, bar 2 of Songs Nos. 14, 20, and the second part of the response of No. 15).